“The Painter on Glass”: El Crepusculo, January 25, 1951, RSJ/YCAL.
“for seeing and leaving”: James, Camposantos, p. 8, speaking of her friend Dorothy Benrimo’s photographs of New Mexican burial grounds.
“a stiff little piece”: RSJ, quoted in Frieda Lawrence, “Rebecca James’ Embroideries,” El Palacio 59, no. 5 (May 1952): 160.
“A tiny cluster”: Ina Sizer Cassidy, “Art and Artists of New Mexico,” New Mexico Magazine 30, no. 7 (July 1952): 45, 47, 33.
“intimate”: Elizabeth McCausland, in Rebecca Salsbury James, Paintings on Glass, exhibition catalog (New York: Martha Jackson Gallery, 1954).
“the Far West”: S.P., “About Art and Artists,” New York Times, September 22, 1954.
“The things—which are austere”: RSJ to PS, February 12, 1955, CCP.
“a rich and warm”: RSJ to Isabel Lachaise, October 14, 1945, roll 26, Archives of American Art, Smithsonian Institution, Washington, D.C. This letter was brought to my attention by Paula R. Hornbostel in an e-mail, July 30, 2015.
“a slightly known”: RSJ to GOK, January 6, 1950, YCAL.
“I wish you would”: GOK to RSJ, n.d., RSJ/YCAL.
“She looks well”: RSJ to PS, December 24, 1952, CCP.
“She is a notoriously bad”: RSJ to PS, October 30, 1956, CCP. She added, “I doubt if she would ever answer any letter from you.”
“Here we are”: RSJ to GOK, n.d. [1963], YCAL. Beck sent this note to Georgia with a copy of the Currier Gallery’s announcement of exhibitions for 1964.
“As you used to say”: RSJ to GOK, August 5, 1963, YCAL.
“carry over”: James, Camposantos, p. 5.
“I am still plagued”: RSJ to PS, June 19, 1960, CCP.
“I know you would”: RSJ to PS, February 8, 1962, CCP.
“I cannot realize”: RSJ to PS, December 13, 1961, CCP.
“What a worker”: RSJ to PS, September 8, 1962, CCP.
“no buttons”: RSJ to GOK, September 21, 1962, YCAL.
“If I leave”: RSJ to GOK, December 26, 1962, YCAL.
“like a lady convict”: RSJ to GOK, March 4, 1963, YCAL.
“My experience”: RSJ to Harold M. Jones, November 29, 1966, included in RSJ to PS, n.d. [1966], CCP.
“irresponsible guesswork”: RSJ to V. D. Coke, May 16, 1963, included in RSJ to PS, May 24, 1963, CCP.
“Georgia came from Abiquiu”: RSJ to PS, May 24, 1963, CCP.
“I’m not ‘up’ ”: RSJ to PS, June 11, 1963, CCP.
“to know, in spite of”: RSJ to PS, July 23, 1963, CCP. Strand owned five of Rebecca’s colchas: New England Still Life, Imagined Landscape, El Campo Santo, The Sacred Heart, and Dove on a Bough.
“I am pleased”: RSJ to PS, September 5, 1963, CCP.
“a very true person”: RSJ to PS, July 5, 1964, CCP.
“neat and ‘scholarly’ ”: RSJ to PS, October 16, 1965, CCP.
“in the strict sense”: The Collection of William and Rebecca James (Albuquerque: University of New Mexico Art Museum, 1969), p. 1.
“from the Pink House Days”: RSJ to GOK, September 24, 1966, YCAL.
“I am getting into”: RSJ to Nate Salsbury III, February 24, 1966, SFC.
“to capture in some”: James, Camposantos, pp. 5–6, 8.
“I do not know”: RSJ to PS, October 20, 1967, CCP. A cenotaph was erected for him in the family plot in Denver’s Fairmount Cemetery.
“more than satisfactory”: RSJ to PS, November 24, 1967; January 14, 1968, both CCP.
“We were much moved”: PS to RSJ, July 18, 1968, CCP.
“I can no longer live”: RSJ to Nate Salsbury III, n.d. [July 1968], SFC.
“She was tough”: “Mrs. James Succumbs,” Taos News, July 11, 1968; Spud Johnson, “Becky,” July 12, 1968, Campbell, pp. 308–9.
“There are hundreds”: James, Camposantos, p. 8.
PAUL
“What has gone out”: Norman, “Introductory Note—America Without Stieglitz,” in Stieglitz Memorial Portfolio, ed. Norman, p. 7.
“devote themselves”: Seligmann, “For the Living,” in ibid., p. 14.
“men everywhere”: PS, “Alfred Stieglitz: 1864–1946,” in ibid., p. 13.
“It was just fantastic”: PS, quoted in Tomkins PS notes, MOMA.
“a pretty picture”: PS, quoted in William Alexander, “Paul Strand as Filmmaker,” in Stange, ed., p. 153.
“We were very concerned”: PS, quoted in Tomkins PS notes, MOMA.
“an interesting photographic”: Frank S. Nugent, “The Screen: At the Filmarte,” New York Times, April 21, 1937.
“He had the feeling”: Leo Hurwitz, quoted in Alexander, “Paul Strand as Film-maker,” in Stange, ed., p. 155.
“Strand was a kind of”: Rudy Burckhardt, quoted in Anne Tucker, “Strand as Mentor,” in Stange, ed., p. 123.
“I was made aware”: Virginia Stevens, in John Walker’s documentary film Strand: Under the Dark Cloth.
“Craftsmanship is built”: PS, Photographs of Mexico, unpaginated.
“volcanic angers”: Virginia Stevens, quoted in Tomkins PS notes, MOMA.
“his best effort”: Leo Hurwitz, quoted in Photographs of Mexico, unpaginated.
“forced”: Newhall, pp. 131–32.
“The work of Paul Strand”: Nancy Newhall, “Paul Strand,” in Paul Strand: Photographs, 1915–1945 (New York: Museum of Modern Art, 1945), pp. 3–7.
“well illustrated”: Edward Jewell, “Photos by Strand Placed on Display,” New York Times, April 25, 1945.
“The problem was”: PS, quoted in Tomkins PS notes, MOMA.
“freedom of the individual”: PS, “Photographer’s Foreword,” in Time in New England, reprinted in Paul Strand, p. 139.
Strand’s activism: On this period, see Mike Weaver, “Dynamic Realist,” in Stange, ed., p. 200.
“He did not insinuate”: Claude Roy, “Preface” to La France de Profil, in PS, Paul Strand, p. 164.
“The house”: Roy, in PS, La France de Profil, p. 65 (author’s translation).
“tell me you are”: RSJ to PS, December 24, 1952, CCP.
“The stubborn preoccupation”: Pierre-François Lacôme, “Un Photographe de l’éternel,” Bulletin Guilde du Livre, September 1955, pp. 362–63 (author’s translation).
“the plainness”: PS, quoted in Tomkins PS notes, MOMA.
“Scared of this very”: Angela Secchi, in “I Posed for Paul Strand,” The Guardian, March 6, 2016.
“lesson in humanity”: Italo Zannier, quote from Foto/Film, 1967, in PS, Paul Strand, p. 226.
“reconciliation of Strand’s”: Maria Caruso, Italian Humanist Photography from Fascism to the Cold War (London: Bloomsbury, 2016), p. 128.
“the common denominator”: PS, Application for Fulbright Fellowship, 1949[?], in Greenough, Paul Strand, p. 48.
“the plain people”: PS, quoted in Tomkins, Paul Strand, p. 32.
“Talking about it”: Catherine Duncan, “An Intimate Portrait,” in Duncan and Eskildsen, unpaginated.
“Whether I like”: PS, quoted in Tomkins PS notes, MOMA.
“Here are fine people”: PS to Basil Davidson, May 2, 1957, quoted in Davidson, “Working with Strand,” in Stange, ed., p. 216.
“a montage problem”: PS to the Newhalls, October 28, 1954, Greenough, Paul Strand, p. 134.
“on the human material”: James Aldridge, “Introduction,” in PS, Living Egypt; reprinted in PS, Paul Strand, p. 286.
“The sentiment”: Mohammed Auda, “Love and Understanding, Al Gomarihya, April 17, 1969; reprinted in PS, Paul Strand, p. 296.
“a wider meaning”: Davidson, in PS, Ghana: An African Portrait; reprinted in PS, Paul Strand, p. 310.
“Over the past twenty years”: dedication in vol. 2 of PS, Paul Strand.
“Once Paul gets”: Hazel Kingsbury, quoted in Tomkins, Paul Strand, p. 33.
“wear and tear”: Davidson, “Working with Strand,” in Stange, ed., pp. 212, 219, 218, 224, where Davidson quotes Mark Haworth-Booth’s words, Paul Strand, p. 7.
“I seem to move”: RSJ to PS, January 14, 1968, CCP.
“Paul Strand is one”: Hilton Kramer, “Paul Strand Photo Show Opens Here,” New York Times, February 10, 1973.
“the beauty of soberness”: Sanford Schwartz, “The Strand Retrospective,” in The Art Presence (New York: Horizon, 1982), pp. 164–66.
“a very easy way”: PS, “Much Looking, Much Simple Being There,” The New Yorker, March 17, 1973, pp. 29–31.
“It’s what you see”: John Walker interview with the author, May 8, 2017.
“I don’t want to give”: PS, quoted in Hill and Cooper, eds., p. 8.
“He has a one-track mind”: Walter Rosenblum to Calvin Tomkins, August 7, 1973; Tomkins PS notes, MOMA.
“As we worked”: Catherine Duncan, “The Years in Orgeval,” in Stange, ed., p. 238.
“We couldn’t get”: Richard Benson interview with the author, May 30, 2013.
“Rebecca’s torso”: Duncan and Eskildsen, p. 22.
“Spurred on”: Richard Benson interview with the author, May 30, 2013.
“When you come”: Tomkins, Paul Strand, p. 35.
“All my books!”: Duncan and Eskildsen, p. 23.
“It turns out”: John Walker, in Marc Glassman, “The POV Interview: John Walker, Part One,” Point of View, no. 72 (Winter 2008), povmagazine.com/articles/view/john-walker-the-pov-interview.
“He didn’t have much”: Fred Zinnemann, in John Walker’s documentary film Strand: Under the Dark Cloth.
“They were his women”: Hazel Strand, in ibid.
GEORGIA
“I am going a bit”: GOK to RSJ, April 1947, RSJ/YCAL.
Jewell’s review: Edward Alden Jewell, “Hail and Farewell,” New York Times, June 15, 1947.
“slushiness”: Doris Bry interview with the author, May 30, 2013.
“Stieglitz often said”: GOK, “Stieglitz: His Pictures Collected Him,” New York Times, December 11, 1949.
“Kindly print”: GOK to Lester Markel, October 14, 1949, YCAL; quoted in Drohojowska-Philp, p. 467.
“an abstract double”: Sarah Whitaker Peters, p. 22.
“calling—as the distance”: GOK, Georgia O’Keeffe, unpaginated, speaking of the line of the Blue Ridge Mountains.
“I still have”: GOK to AP, December 13, 1949, Giboire, ed., p. 286.
“You make me feel”: GOK to RSJ, n.d. [September 1950], RSJ/YCAL.
“an enigmatic”: Lisle, p. 292.
“Admirers of the decorative art”: Howard Devree, “The Carnegie: 1950,” New York Times, October 22, 1950.
“an increased urge”: Henry McBride, “Georgia O’Keeffe of Abiquiu,” Artnews (November 1950), p. 57.
“I have always been”: GOK to William Howard Schubart, July 28, 1950, Cowart and Hamilton, p. 253.
“I can not tell you”: GOK to William Howard Schubart, October 26, 1950, ibid., pp. 255–56.
“All my association”: GOK, quoted in Seiberling, p. 45.
“I loved walking”: GOK to the Stettheimers [April–May 1944], Cowart and Hamilton, p. 238.
“We manage”: GOK to the Stettheimers, [August? 1943], ibid., p. 234.
“It was a bright”: GOK to Caroline Fessler, March 21, 1944, Robinson, p. 450.
“I don’t want to know”: GOK, quoted in Tomkins GOK notes, MOMA.
“You told me honestly”: Chabot to GOK, January 12, 1944, Drohojowska-Philp, pp. 405–6.
“I would not say”: Maria Chabot, quoted in ibid., p. 433.
“I wish you could see”: GOK to Arthur Dove, September 1942, Cowart and Hamilton, p. 233.
“The wall with the door”: GOK, Georgia O’Keeffe, unpaginated.
“lots of startling poppies”: GOK to Henry McBride, August 19, 1948, Cowart and Hamilton, p. 248.
“It has surprised me”: GOK to Russell Vernon Hunter, October 30, 1948, ibid., p. 249.
“If you haven’t”: GOK to RSJ, December 13, 1949, RSJ/YCAL.
“stimulating and satisfying”: Spud Johnson, quoted in Lisle, p. 356.
“as comfortable”: AP to AS, August 1, 1945, Giboire, ed., p. 285.
“There are so many”: GOK, quoted in Anita Pollitzer, “That’s Georgia,” The Saturday Review, November 4, 1950, p. 43.
“A solitary person”: ibid., p. 41.
“odd feeling”: GOK to AP, October 1950, Giboire, ed., p. 296.
“You seem to be”: GOK to AP, December 7, 1950, ibid., p. 297.
“I wrote to him”: GOK to Margaret Kiskadden, September 3, 1950, Cowart and Hamilton, p. 255.
“The painting is like”: GOK, quoted in Lisle, p. 398.
“I’m conceited enough”: GOK, quoted in Ralph Looney, O’Keeffe and Me: A Treasured Friendship (Boulder: University Press of Colorado, 1995), p. 41.
“the murals the boys”: GOK to William Schubart, March 27, 1951, Cowart and Hamilton, p. 260.
“I was very excited”: GOK, quoted in Tomkins GOK notes, MOMA.
“unbelievable”: ibid.
“Most of what I see”: GOK to William Schubert, April 2, 1953, Cowart and Hamilton, p. 263.
“I have been working”: GOK to AP, May 31, 1955, Giboire, ed., p. 298.
“It looked like a Persian miniature”: David McIntosh, quoted in Robinson, p. 492.
“They just stopped”: GOK to Caroline Fesler, February 5, 1956, Cowart and Hamilton, p. 266.
“We probably all”: GOK to AP, January 17, 1956, Giboire, ed., p. 305.
“You not only speak”: AP to GOK, January 28, 1956, Giboire, ed., p. 306. Pollitzer paraphrased remarks by F. S. C. Northrop in The Meeting of East and West (1946).
“How good it has been”: RSJ to GOK, December 26, 1962, YCAL.
“Such a size”: GOK, on Sky Above Clouds IV, in “About this Artwork,” at Art Institute of Chicago Web site: http://www.artic.edu/aic/collections/artwork/100858.
“What other place”: GOK, quoted in Lisle, p. 372.
“Oh, Georgia”: Halpert, quoted in Drohojowska-Philp, p. 480.
“implies some casting about”: Robert M. Coates, “The Art Galleries,” The New Yorker, April 22, 1961, pp. 160, 163.
“from which she pared”: Brian O’Doherty, “Art: O’Keeffe Exhibition,” New York Times, April 11, 1961.
“a phenomenon”: E. C. Goossen, “O’Keeffe—Her Extraordinary Contribution to Twentieth-Century Art…Obscured by her Fame,” Vogue, March 1, 1967, p. 174.
“She looks like”: John Loengard, in “Rattlesnakes and Ladders: The Inside Story of a Visit with Georgia O’Keeffe,” Time, March 31, 2017, time.com/4702372/georgia-okeeffe-photographs-story/.
“It is a very sentimental”: GOK to AP, February 28, 1968, Giboire, ed., p. 320.
“I do not like the idea”: GOK to AP, n.d., Giboire, ed., p. 324.
“appropriated the 19th century idea”: Robert Hughes, “Loner in the Desert,” Time, October 1970, p. 64.
“a clear, cool essence”: John Canaday, “O’Keeffe Exhibition: An Optical Treat,” New York Times, October 8, 1970.
“really talking about”: GOK, “It’s Just What’s in My Head…,” New York Times, October 18, 1970.
“Write about women”: Tom Zito, “Georgia O’Keeffe,” Washington Post, November 9, 1977; quoted in Robinson, p. 509.
“When you get so old”: GOK, quoted in Andy Warhol, “New Again: Georgia O’Keeffe,” Interview, September 1983, https://www.intervie
wmagazine.com/art/new-again-georgia-okeeffe.
“No one is ever”: Virginia Robertson quoting GOK, Robinson, p. 517.
“must maintain”: C. S. Merrill, Weekends with O’Keeffe (Albuquerque: University of New Mexico Press, 2010), unpaginated, September 11, 1973.
“flirted imperiously”: Calvin Tomkins interview with the author, April 15, 2013; Tomkins GOK notes, MOMA.
“I am not going”: Jerrie Newsom, quoted in Robinson, p. 527.
“near to sculpture”: GOK, Georgia O’Keeffe, unpaginated.
“how much O’Keeffe”: Sanford Schwartz, “Georgia O’Keeffe Writes a Book,” The New Yorker, August 28, 1978, pp. 87–93.
“There is prejudice”: Juan Hamilton, quoted in Kristin McMurran, “A $13 Million Lawsuit over Georgia O’Keeffe Highlights a Portrait of the Artist’s Young Man,” People, February 12, 1979, https://people.com/archive/a-13-million-lawsuit-over-georgia-okeeffe.
“Just don’t cross her”: Perry Miller Adato, A Life in Film, “Chapter 11: Georgia O’Keeffe (1977),” at https://www.youtube.com/watch?v=z8yNFVjpkPQ.
“a photographic diary”: Juan Hamilton quoted in Grace Glueck, “Art People,” New York Times, November 17, 1978.
“the story of a love affair”: Hilton Kramer, “Stieglitz’s ‘Portrait of O’Keeffe’ at Met,” New York Times, November 24, 1978.
“a kind of idol”: GOK, in John Walker’s documentary film Strand: Under the Dark Cloth.
“You can use me”: Andy Warhol, “Georgia O’Keeffe & Juan Hamilton,” Interview, September 1983; republished November 12, 2014.
O’Keeffe cried out: Patten quoting GOK, Drohojowska-Philp, p. 541.
“Her health wasn’t”: Juan Hamilton, quoted in Grace Glueck, “Friend of O’Keeffe Glad Fight’s Over,” New York Times, August 1, 1987. See Robinson, pp. 551–59 passim.
“The letters poignantly reveal”: Sarah Greenough, “From the Faraway,” in Cowart and Hamilton, p. 138.
“make it beautiful”: GOK, instructions to Sarah Greenough, MFO, p. xiv.
“touch the center”: MFO, xiv.
ENVOI
“peeping over the rim”: GOK to AS, October 3 [?], 1937, MFO, p. xiv.
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